知识之航与历史想象：重读吴兴华

吴兴华的诗在题材、意象、诗想、形式方面，有意与流行的自由体新诗拉开距离，大踏步向古典诗靠拢，用力之深，在1940年代诗界，堪称异数。1940年代后期，他把叙事性和戏剧性因素纳入诗歌写作，有意淡化抒情性的比重，拉开与主流诗坛的距离，因此为新诗提供了一个崭新的定义：诗歌不是外在的日常经验的艺术转化和再现而是一个诉诸于人的内在世界的“历史想象”，不再是个人情感和观念的自由表达而是一个要求具备学养的“知识之航”，它要求驱除诗歌艺术上的无政府主义状态，转向对修辞技艺和文本秩序的经营。我们可以在吴诗中辨识到“古典新诠”的特征。古典新诠的接力者遍布于中国大陆、香港、台湾、马来西亚、北美，形成一条辉煌长远的“现代主义历史诗学”的光谱。

Voyage of Knowledge and Imagination of History:Reread of Wu Xinghua

Wu Xinghua intentionally windened the distance between his poems and the popular freestyled new poems in themes, imagery,poeticsentiment and forms and drew in big strides close to classical poems. Such was a special practice in 1940s. In the late 1940s he put in narrative and dramatic factors in composing poems, deliberately weakened lyricism, spaced out of the mainstream poetical circles, hence supplied a brand-new definition for new poetry：poetry is not the artistic transformation and reappearance of the outer routine experience but the inner world ＂imagination of history＂ resorting to people, it is no longer the free expression of the feelings and conceptions of the indiridual, on the contrary, it is a ＂voyage of knowledge＂ requiring of academic accomplishment and it asks for the elimination of the anarchic state in poetic art and the turning to the management of rhetorical technique andtextual order. In Wu＇ s poems people can make out the characteristics of ＂new annotation of classics＂, the succeeders of which are all over the Chinese mainland, Hong Kong. Taiwan, Malaysia and North America, forming a brilliant and far- reaching light spectrum of ＂modernist historical poesy＂.